RogerEbert.com's Scores

  • Movies
For 970 reviews, this publication has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 0 Dumbbells
Score distribution:
970 movie reviews
    • 75 Metascore
    • 88 Critic Score
    Is the movie too adulatory? It is not the most subtly layered documentary I've ever seen, but these days it's no longer verboten to take a stance in docs. And there is so much to be admired about Hanna. Plus…if you've never seen some of those songs performed…it's electrifying.
  1. While I’m not a parent myself, I can see how Like Father, Like Son would be a tough sit for any parent. Tough, but extremely worthwhile.
    • 72 Metascore
    • 88 Critic Score
    Though this is a story of enormous cultural importance and dramatic power, it’s virtually impossible to imagine today’s Hollywood making a movie about it.
  2. It is an infuriating reality that The Hunting Ground exposes. I was rattled watching it, finding it hard to catch my breath and harder still to imagine how many people are in positions of power who have heard these stories so many times and turned their backs on victims.
  3. Intelligently conceived, beautifully executed and filled with surprisingly convincing performances all around... We Are What We Are is that rare horror film that could play at both arthouse and grindhouse theaters without seemingly out of place at either one.
  4. What elevates Hide Your Smiling Faces is Carbone's gentle, lyrical touch where other filmmakers would have turned the same thematic concerns into melodrama.
  5. Simply put, this is one of the craziest films to come along in a while and I can confidently say that anyone who sees it will either hail it is some kind of crackpot masterpiece or dismiss it as one of the silliest damn things they've ever seen.
    • 69 Metascore
    • 88 Critic Score
    Like classic military comedies from “Catch-22” to “M*A*S*H,” Talya Lavie’s Zero Motivation offers its own appealing blend of irreverence and absurdism.
    • 68 Metascore
    • 88 Critic Score
    Ultimately, Futuro Beach is a film about displacement and identity, love and its costs. Its considerable satisfactions, though, come mainly from the way the story is told, which spells nothing out, and in fact is so reticent that the viewer is constantly drawn into the creation of meaning.
  6. When Michell is on his game, as he definitely is with Le Week-End, he unearths small, invaluable and even profound truths about the human condition that are often as inspiring as they are devastating.
    • 68 Metascore
    • 88 Critic Score
    Given its loose-knit narrative, the film doesn’t have anything like a conventional structure. Yet it’s steadily engrossing due to Boorman’s surpassing skills as both a storyteller and a director.
  7. No, what's most disquieting about It Follows is the way it presents sex as neither abnormal, nor beneficial.
  8. This is a very good movie and perfect summer counterprogramming.
  9. Gibney crams as much material as possible into a quick two hours (he really knows how to edit and pace a piece like this one as it feels much shorter) and yet, to be fair, there’s still an angle missing just by virtue of the fact that he couldn’t get anyone from the Church of Scientology today on camera.
  10. The Cold Lands is less a story than an experience, and that, as such, anything one might say about it could be considered a spoiler.
  11. At times, Blood, feels like a slightly-filled-out television police procedural with better cinematography, but the performances have an almost Shakespearean grandeur.
  12. 7 Boxes is both a tense and frightening crime film as well as a sometimes-dreamy evocation of life in the sprawling underclass, its hallucinatory aspects, its chaos and violence, its fantasies.
  13. The movie has an organic intelligence and a sense that it, too, exists outside of linear time. It seems to be creating itself as you watch it.
  14. These documentarians masterfully construct their vision to elevate and serve their subject. The result is more low-key than one might expect from a movie about rap. It is also more powerful, bypassing the expected artist braggadocio to stand on the rarely visited street corner of sociology and hip-hop music.
  15. A very good jazz movie and a very good heroin movie, if indeed there's much practical difference between the two modes—and perhaps there isn't.
    • 87 Metascore
    • 88 Critic Score
    Unlike American movies, where our identification with one character or another would likely be imposed from the outset, Force Majeure stands back from its couple, allowing us to inspect the characters from a discreet distance and draw our own conclusions.
    • 80 Metascore
    • 88 Critic Score
    My hunch is that most viewers, whatever their previous views on this fraught subject, will come away not only fascinated but largely convinced by Murmelstein.
  16. Filmmaker Mike Leigh's biography of the landscape painter J.M.W. Turner is what critics call "austere" — which means it's slow and grim and deliberately hard to love — yet it's fascinating, and the performances and photography are outstanding.
  17. Loud, smart and ferociously committed to its premise, and it leaves an intriguingly bitter aftertaste.
  18. Starred Up is HEAVY with slang and accents. You won’t understand a third of it. But there’s so much going on in between the lines of dialogue that you won’t care.
    • 76 Metascore
    • 88 Critic Score
    While it does profile the work of brilliant dancer, the film also contains two complex and moving love stories as well an account of a physically devastating tragedy followed by an extraordinary tale of struggle and survival.
  19. Cave's soulful performance, shot in real-time and in extreme close-up, is that much more impressive once you realize he's playing a song for Forsyth and Pollard before he's performed it in front of a live audience.
  20. Night Moves eschews traditional tension-building through plot twists and betrayals to focus on its characters, as Reichardt uses her increasingly impressive sense of composition and intuitive pacing to slow burn the audience into a state of anxiety instead of manipulatively pushing them there.
  21. If anyone is concerned about the way women are presented on the big screen these days, just look at how an evolved male like Hiccup respectfully treats his girlfriend Astrid (America Ferrera) and the portrayal of Blanchett’s Valka.
    • 78 Metascore
    • 88 Critic Score
    Running only an hour, this documentary is as emotionally heavy as almost anything twice as long.

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